Producing in a Room

The threesome proceeded to turn the 65-seat room into a viable rental space. Following the installation of better lighting and a complete sound system, the Red Room was ready to operate as a fully functioning theater. Newly renovated, it became a highly sought-after space. Six months later, Horse Trade added the Red Room’s ground-floor neighbor, the Kraine Theater, to its list of available real estate. “Our first year’s approach was to develop the theaters exclusively as rental spaces,” claims artistic director Dobular. “One mistake companies make is to get too ambitious.” He confesses that the group’s foray into producing their own shows began earlier than planned. “We offered another producer an early-out clause–and he took it, leaving us with an empty space.”

Scrambling to fill a theater, Horse Trade initiated its “Red Nights Performance Series.” Moving from management to production, the group discovered the pros and cons of producing with such shows as Something, Something, Uber Alles, I Am My Own Cheap Thrill, Maybe I Can Get Laid in Jail, The Pumpkin Pie Show, The Making of Michael Gold and Big Art Group’s The Balladeer. “We’re learning by trial and error,” remarks managing director Ziv. “Unlike many theater groups, we run without grants. Horse Trade is self-reliant–we’re not subjected to politics for survival,” he states proudly. Despite the pressure to fill theaters and generate income, the group maintains standards of what it brings into the spaces. “It has to be good!” notes Ziv.

“Red Room is gaining a reputation as a good place to work,” remarks writer/director Stephen Schulman, preparing to open DUH! at the theater in mid-July. “The space is very intimate and can easily be adapted for larger shows. Plus, it’s a great location.”